Shoegaze guitar fans, rejoice — San Diego’s Crocodiles have a new album coming out. Following last year’s fine Endless Flowers comes Crimes of Passion, due Aug. 20 on Frenchkiss. They’re already premiered “Crimes of Passion,” and now comes the melodic rush of “Teardrop Guitar,” a perfectly named slab of classic shoegaze, vibing early Verve and Ride while maintaining their own sense of scrappy rock ‘n’ roll grandeur. It’s streaming now at NPR.

Deerhoof Releases ‘Breaking Songs’ Video

S.F.’s Deerhoof has released a video for its track “Breakup Songs” from the album of the same name. It at first seems like a huge bummer — I worry that “Breakup Songs” is code for the band breaking up, though they’ve had an incredible run — and the video features a crow man seeming to bring death to plague-invested peasants. How this leads to a dance party? You’ll just have to watch.

Echoes of Suicide, Silver Apples andSpacemen 3 emulate from Moon Duo’s big bad amplifiers, but the San Francisco band develops that into their own brand of psychedelia on Circles, their latest and finest release. The band, which consists of SF psych-rockers Wooden Shjips’ Erik “Ripley” Johnson on guitar as well as Sanae Yamada on keyboards, sounded great on previous releases when they let things fly into extended jam territory (as do Wooden Shjips), but they sound just as engaging in more bite-sized pieces, as on the darkly melodic “I Can See” and jangly title track, which lets just enough light in to help illuminate the rest of the album as a result. They still do motorized rock with Kraut beats like no other, as on songs like “I Been Gone,” but songs like the actually kind of dancey “Dance pt. 3” prove to be the perfect augment to their sound. Badass and no-nonsense, for sure, Circles captures Moon Duo at their best but allows them loosen up stylistically and have a little more fun at the same time.

After leaving Swedish indie pop group The Concretes, Victoria Bergsman has straddled the line between conventional pop wisdom (her duet with Peter Bjorn & John, “Young Folks,” and covers of Animal Collective and Guns ‘N’ Roses) and more worldly aspirations. Other Worlds continues that tradition for Bergsman. Inspired by her travels to Hawaii, Other Worlds similarly concerns itself with one place, or one feel, rather than taking a pan-global approach (similarly to her last album, the Pakistan-influenced East of Eden), though Other Worlds doesn’t sound terribly Hawaiian as it does have a swaying, oceanic feel, like a dive captured in slow motion. “Dreams” beautifully floats into the ether on the strength of Bergsman’s nocturnal voice and chorus-heavy guitars. “In Other Words’” most notable feature is actually its country-inspired steel guitar, but the song’s slow jaunt and vaguely singsongy quality makes it feel like a codeine-fueled cover of a sea shanty. Thankfully Bergsman doesn’t allow her muse to overly rule or define her songs, and Other Worlds is quite distinct and varied, despite its understated island vibe. You forgive some of the seemingly cheesy elements of its theme, like the cutesy vibraphone and steel drums on “Pacific Blue,” because Bergsman weaves them into something unique and seamlessly ties them together with unrelated sounds. The album’s opening songs, for instance, build airy ballads over airy bedroom electronics and found sounds, which come back to the fore with the clanging “Not Like Any Other” and dubby beatwork of “Large,” both of which sound a bit like a chilled out Grimes. Like most of Bergsman’s work, Other Worlds is a feat of subtlety, but is nonetheless memorable, tuneful and easy to submerge yourself in.